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The gallery is left very open. The walls are covered in\nintricate, detailed black wall decals of silhouettes of fencing, birds, and\neven flying hand guns. These guns are just that, silhouettes of hands guns with\nwings attached, pinned to the wall, appearing as if they are flying around the\nexhibition. Laying on top of or next to these details are large paintings. In\nthe center of the gallery are several, cushioned benches inviting the viewers\nto sit back, relax and enjoy the artwork, and some do. From either side of the\nbench is a fair amount of distance from the pieces on the wall, allowing the\naudience to appreciate the large works in its entirety. This accessibility to\ncomfort in the galley encourages viewers to stick around. The Dedo Maranville Fine Arts Gallery in\nValdosta, Georgia presents \u201cBearing Witness: Installations by Margi Weir.\u201d Weir\ntravels from Detroit, Michigan to exhibit her controversial work. It\u2019s clear\nthat Weir has an opinion and is very direct with the delivery of expressing her\nviews. <\/p>\n\n\n\n
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The piece Blue is Not a Neutral<\/em> stands out\nspecifically, not only because of its vibrant blue color, for the content of\nthe piece. She repeats the use of silhouettes from the decals on the wall into\nthis painting, but in this case, it is the silhouettes of four officers\nstanding side by side wielding batons. Their stance and body language suggest\nthey are prepared for attack, not defense. They do not have their arms up\nshielding themselves in defense, but by their sides as if they\u2019re unthreatened.\nThe word \u201cPolice\u201d is clearly displayed across the figure\u2019s chest in white font.\nThe line of officers stands in front of a gradient, blue brick wall. Hanging\nabove the officers is a blue, first place ribbon. Weir is clearly trying to\nconvey and imply that law enforcement will never see themselves as equals to\ncivilians, in fact, that they act as if they are superior and use their\nauthority against common folk. She makes another bold statement with her\npainting titled Gold Standard.<\/em> In the piece are icons of gold stars, the\nOscar awards and the iconic, golden McDonald\u2019s arches. Weir implies that\nsociety sets the gold standard and uses it as a way to brainwash people into\nthinking what is \u201cgood\u201d or the \u201cgold standard.\u201d In her piece Better Red Than\nDead<\/em> she compares a devil to a priest using a red color palette. There are\nred stop signs, hearts and lips surrounding the two figures. These symbols\nsuggest that the church is just as bad as the devil and hinting at sexual\nmisconduct and abuse within the church. <\/p>\n\n\n\n All of Weir\u2019s pieces are powerful and convey a strong\nmessage. She\u2019s not afraid to stand up for what she believes in and is strong in\nsharing her views on what is right and what is wrong, regardless of the stir it\nmay cause. She confidently expresses her feelings while visually communicating\ntopics that are normally hard to talk about.<\/p>\n","protected":false},"excerpt":{"rendered":" By: Marissa Parks The gallery is left very open. The walls are covered in intricate, detailed black wall decals of silhouettes of fencing, birds, and even flying hand guns. These guns are just that, silhouettes of hands guns with wings attached, pinned to the wall, appearing as if they are flying around the exhibition. Laying … Continue reading Bearing Witness: Installations by Margi Weir<\/span><\/a><\/p>\n","protected":false},"author":561,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[127],"tags":[],"class_list":["post-761","post","type-post","status-publish","format-standard","hentry","category-margi_weir"],"acf":[],"_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/761","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/users\/561"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/comments?post=761"}],"version-history":[{"count":3,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/761\/revisions"}],"predecessor-version":[{"id":776,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/761\/revisions\/776"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/media?parent=761"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/categories?post=761"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/tags?post=761"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}